The second artist in the workshop project is Luo Shuang. In recent years, her art work has been devoted to exploring mistranslations and collisions in the translation process of animal and plant neurology. The artist's work involves an exploratory language derived from theory, around the "decentralized" discourse which is popular today, the uncontrollable "misreading" will appear in her creation, the creative motivation comes from the mistranslation and misreading gap between the many "habituations" and "exercises" in the interdisciplinary process. The "field" formed by the sound of the bees in the exhibition hall, the twinkling of the tungsten bulb groups and the continuous relationship formed by the branch machinery.
Luo Shuang’s exploration and efforts are embodied in the cold narrative of the appearance revealed in the "decentralized" context, the difference between the specific context and the way of presentation on the spot, the artist brought in the temperature of her body and organs. The material of the work will form a language difference to the original discourse, the "temperature" will gradually detach the text domain they rely on in future explorations. For example, the "metaphysical force" of brain waves which emphasized by the artist in this project promotes the flickering tungsten wire. The tungsten bulb is placed on the beeswax board, and the heat energy of alternating light and dark melts the beeswax board, making people see the traces of the beeswax burned by the temperature of the bulb. The biological texture of the beeswax material is used to touch and stare after being solidified, connected to the work I Have An Invisible Leg that Hurts at the other corner of the exhibition hall, which corresponds to the cement turning bag module underneath it, forming the nature of "presence", also the answer about traces and residual semantics which hook up the contextual relevance. The branches that are constantly being bound and rotated by machine, it is the repetition of the nature of "words" again in this context, and the editing of insect sounds simplifies the "presence" of these "experiences" in the audience.
The artist strives to find a conclusion of the experience of the "other world" on the spot. The combination and placement of these scenes are rooted in the visual properties (brain waves) formed by the artist through the capture of dreams, and then stop on the trace that the biological carrier (beeswax board) leave through mechanical and thermal energy conversion. The weight of the dream is conveyed by the transparent board and the wheel which makes its four corners can symbolically move. The artist hopes that it is a sliding, suspended dream and a texture formed by creatures, like a murky song that is intercepted and stayed by light energy.
